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Medieval decoration and Renaissance naturalism
- Fifteenth-century Italian painter Carlo Crivelli stands out for his dazzling combination of Medieval decoration and Renaissance naturalism. His religious paintings are full of illusionistic textures and clever visual tricks.
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Carlo Crivelli (c. 1430 – c. 1495) was an Italian Renaissance painter of conservative Late Gothic decorative sensibility, [1] who spent his early years in the Veneto, where he absorbed influences from the Vivarini, Squarcione, and Mantegna.
Crivelli was active as a painter by 1457 when he was condemned in Venice for adultery. He was very successful as a maker of altarpieces in the Marches. These are especially well represented in the Collection.
Carlo Crivelli (born c. 1430/35, Venice [Italy]—died c. 1494/95, Ascoli Piceno, Marche) was probably the most individual of 15th-century Venetian painters, an artist whose highly personal and mannered style carried Renaissance forms into an unusual expressionism.
- The Editors of Encyclopaedia Britannica
Aug 21, 2022 · Fifteenth-century Italian painter Carlo Crivelli stands out for his dazzling combination of Medieval decoration and Renaissance naturalism. His religious paintings are full of illusionistic textures and clever visual tricks.
- Alexandra Kiely
Apr 1, 2022 · Previously sidelined and misrepresented within the discipline of art history, his highly distinctive style resisted dominant pictorial ideals at the time, and his works defy stylistic categorisation. One thing, though, is for certain: Crivelli was an artist who did not play by the rules.
Feb 26, 2024 · Carlo Crivelli was born around 1430 in Venice, Italy. We know he worked as a painter, sometimes collaborating with his younger brother, Vittorio Crivelli. But the next significant event officially recorded was worthy of the gossip columns of Venice: Carlo Crivelli was arrested for adultery.
Oct 22, 2015 · This vegetable is not found in biblical accounts but instead alludes to the painter Crivelli with an unusual signature device. His tiny composition is masterfully designed. The painter carved out a plausible space for all thirteen figures, revealing his practical facility with the principles of perspective.